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The time seems right to up the ante, Lukashenko was recently returned to power in what many believe to be rigged elections in October 2015. The theatre’s modes of theatrical practices have grown, by necessity, out of the stranglehold of Alexander Lukashenko’s continuing dictatorship.
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“They don’t care if we are on fire.” Photo by Siarhei Hapon.īelarus Free Theatre’s theatrical laboratory Fortinbras’ provocations of pop up contemporary art and theatre shone a bright light through the chinks of the armor of Belarus’ dictatorship this past December in a cold and rainy Minsk.īelarus Free Theatre (BFT) pioneer performance inspired campaigning, now, only months after Belarus signed the UN convention to protect the human rights of those with disabilities, Fortinbras’ students yielded the fruits of their own training to mount a series of “public actions, installations and performances across Minsk asking: ‘Why don’t we see people with disabilities around us?’”īelarus is in the grip of uncertainty, it stunts itself when it embraces difference with only half hearted measures, it is plagued with anxiety when these measures are tested and are found wanting, it wishes to go forward but is caught in the throes of a dictatorship which forces the country to tread water.īelarus Free Theatre and Fortinbras stand with the banned and the disabled are banned in Belarus.